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David Bowie's satirical take on gender norms with 'Boys Keep Swinging'

Hello dear music lovers! Today, I will be writing about David Bowie's song 'Boys Keep Swinging' and its video. I am sure we are all familiar with Bowie, so I am going to introduce him very briefly. David Bowie was an English artist known for his unique style, alternating between the more or less extravagant personas he embodied. Bowie was always looking for new ways to make art. He combined music with fashion, theater, and other forms of art, making him a unique and lasting cultural icon. His songs often talked about identity, feeling different or alone, gender, and alienation.

'Boys Keep Swinging' was released in 1979 as the lead single from his album Lodger. The lyrics express a satirical view of male privilege, gender roles and masculine archetypes.

"You can wear a uniform / When you're a boy" this line highlights how men are often given positions of power or authority, symbolized by uniforms, just because of their gender. "Other boys check you out" has a double meaning - it could refer to men who are admired and respected by their peers because of their success and their authority suggested in the previous line, but it could also have an ambiguous connotation, which was deemed "too gay for TV" by NBC, and censored during its performance on SNL."You get a girl" reflects the expectation that being a man automatically means you will attract women, and that relationships are supposed to validate manhood. "You're always first on the line" this line showcases the priority often given to men. "Boys always work it out" suggests that men are able to succeed in life no matter the situation.

The mocking delivery of hyper-masculine tropes contrasts with the music video. In the video, David Bowie performs as himself but also appears dressed as backing vocalists in drag, singing about the privileges of being a man, using irony and exaggeration to challenge gender stereotypes. At one point, each of them walk down a catwalk, snatch their own wigs and rub off their makeup. In drag culture, snatching off one's own wig is a dramatic and symbolic act that often carries powerful meaning. In the context of Bowie’s 'Boys Keep Swinging' video, it can be interpreted as a moment of vulnerability, of breaking down gender performance and revealing the fluidity and constructed nature of identity.

Have a great weekend, Jude x

[judeonfilm]

The sources for my final project

Hello, in this week's post I am going to introduce more of the sources that I will be using for my final project. Let me remind you of my subject: "Biblical and Mythological Imagery in Hozier's Music: a Study of Religious Reinterpretation"

In my last post, I introduced the songs/album I was going to focus on as a primary source, but I wanted to add something. As Mme Grassy asked, I indeed forgot to specify that I will also be using some music videos. Though I will mostly analyse lyrics, I might dive into the videos of 'Swan Upon Leda', and 'Eat Your Young'.

Now for my secondary sources, I will of course work with the Negus -the chapter 'Histories', the importance of historical knowledge, in the sense that Hozier echoes with his music the presence of mythological and biblical references in the literary tradition, and builds his own musical identity from that. I will also be exploring the roles of the religious imagery, so I thought of the chapter 'Politics', because I feel like I cannot dissect these roles in songs like 'Take Me To Church' or 'Swan Upon Leda' without mentioning that they are political songs.

I am also going to draw on a few articles on my subject, such as the following:

Finally, although it's already implied in my project title, I am going to draw on mythology (mainly Christian and Greek), but also on Dante Alighieri's Divine Comedy. Indeed, I have already mentioned that Hozier's last album was heavily inspired by Dante's work. I find it a bit complicated to differentiate the type of sources in this particular case -The Divine Comedy is only a literary work, it's not sacred, based not only on biblical references, but also on Greek and Roman mythology. So I would tend to describe it as a secondary source of mythology, but I am still wondering if I can consider it as a secondary source for my project.

Let me know what you think!

Have a great weekend, Jude x

[judeonfilm]

Biblical and Mythological Imagery in Hozier's Music: a Study of Religious Reinterpretation

Hello dear music lovers! I am happy to finally introduce you to my final project. In my previous post, I hinted at the artist I was going to concentrate on, Irish singer-songwriter Hozier. Indeed, I have chosen to explore how Hozier references religious and mythological stories (mostly Christian and Greek) to sing about the intensity of the human experience.

I first heard about Hozier like most people, I think, thanks to his first global hit 'Take Me To Church', from his self-titled debut album released in 2014. But I only really discovered him very recently, after the release of his second album Wasteland, Baby!. His writing, the blues and soul influences in his sound, his powerful voice with its impressive range deeply touched me.

Although I find Hozier's writing fascinating and full of interesting aspects -the influence of his Irish heritage, his vocal activism through his music- I decided to focus on the way he reinterprets well-known biblical and mythological stories, presenting them in a contemporary context and offering new insights into themes of faith, identity, love, loss, redemption, etc.

For my sources, I will dive into Hozier's discography, and if relevant, passages from his interviews. I will at least analyse the role of biblical and mythological imagery in :

'Take Me To Church', 'From Eden', from his debut album Hozier (2014)

'Dinner & Diatribes', 'Talk', and 'Sunlight' from Wasteland, Baby! (2019)

'Swan Upon Leda', a single that was released in 2022, but which will also be featured on a deluxe version of his album to be released on December 6 - Unreal Unearth: Unending

The album Unreal Unearth as a whole (2023)

And more specifically, the songs 'I, Carrion (Icarian)', 'Eat Your Young', 'Son of Nyx', 'Abstract (Psychopomp)' and 'First Light'

Have a great weekend, Jude x

[judeonfilm]

Hozier's 'Butchered Tongue', a homage to the resilience of Irish culture and language in the face of historical oppression

/!\ This post contains a sensitive topic - brief mention, in the fourth paragraph, of the torture carried out by the British on the Irish in the 18th and 19th centuries.

Hello! For this week's post, I wanted to finally introduce you to my favourite artist, the Irish singer-songwriter Hozier. Throughout his career, his Irish heritage has influenced him in terms of style, themes and identity. 'Butchered Tongue' is a song from his latest studio album, Unreal Unearth - inspired by Dante's Epic poem 'Inferno', first part of the Divine Comedy. The tracklist is associated with the Nine Circles of Hell. 'Butchered Tongue' is part of the Seventh, the Circle of Violence.

Through the metaphor of a "butchered tongue" (tongue as the muscle and as the language), Hozier refers to the deliberate suppression of the Irish language, especially during the centuries of British colonial rule when speaking Irish was banned and punishable. The brutal image resonates with the violence inflicted on the Irish people, as the song suggest that erasing a language is akin to erasing a people's history, identity and cultural memory. "A butchered tongue still singing here above the ground" - this line implies that this song will continue to sing for those who cannot, thanks to the people who fought to preserve their culture.

Now, about the lyrics. In the first verse, Hozier cites three place names in foreign languages; "Apalachicola," "Hushpuckena," and "Gweebarra". The first two are places in the US bearing native names, and the third is an Irish place. It demonstrates a strong connection between language and land. Moreover, the presence of other indigenous languages highlights the fact that the song is not just about Irish, but about all indigenous languages threathened or eradicated by colonialism. By saying "And as a young man, blessed to pass so many road signs", Hozier acknowlegdes how fortunate he is to come from a country that is attempting to preserve the native language, as Irish and English are both always written on road signs. "In some town that just means "Home" to them / With no translator left to sound"; when asked what the names of towns like ‘Apalachicola’ mean, their inhabitants have no answer, because the language is being lost as the native speakers disappear. Once again, Hozier acknowledges the privilege of Irish and its preservation.

The lyrics "The ears were chopped from young men if the pitch cap didn't kill them / They are buried without scalp in the shattered bedrock of our home" refers to brutal punishments inflicted on suspected Irish rebels during British colonial rule, especially around the Wexford Rebellion of 1798. "Pitchcapping" was a form of torture which consisted of pouring hot tar over the victim's head, burning and mutilating their scalps and faces. The "shattered bedrock" symbolises a homeland scarred by the suffering and resilience of its people.

Finally, I wanted to include Hozier's words, which I think are important and sums it up: "[Butchered Tongue] is reflecting on the tragedy of cultures who have lost the meaning of their own words. We’re very fortunate in Ireland that we have a solid written history; there's so much there to be learned and build back from. That’s not always the case in indigenous destinations around the world; there are many people that do not have that luxury. No one can say for certain what these places now mean; there will never be a translator."

Enjoy your holidays, Jude x

[judeonfilm]

Rachel Chinouriri's cover of 'Starbuster' by Fontaines D.C.

Hello dear music lovers! For this week's post, I wanted to talk about Rachel Chinouriri's brand new cover of 'Starbuster,' a song by Fontaines D.C.. Rachel Chinouriri is an up-and-coming English singer-songwriter, who rose to fame with her first hit 'So My Darling' (2018), when she was just 19 years old. She released her first studio album What a Devastating Turn of Events in May-in which she explores heavy themes of homesickness, depression, body dysmorphia, suicide- reclaiming her position in the indie pop scene, where Black female artists are still underrepresented.

Irish band Fontaines D.C. released their new album Romance in August, and the single 'Starbuster' is, in my opinion, one of the most striking songs on the album. Grian Chatten, the singer, has said this song was written about a panic attack he had on the London tube, and I think the gasps throughout the song is a genius addition that makes it so peculiar, because it perfectly conveys the anxiety of a panick attack. The song also deals with themes of alienation, self-destruction, and the desire of connection in this chaotic world -also the theme of the song 'In The Modern World', my personal favourite on the album.

In Rachel Chinouriri's cover version down below, she wears a tracksuit similar to Grian's in the music video, a detail I appreciated. I thought Rachel's performance was excellent, deep (although I wish she had sung the bridge of the song...). 'Starbuster' resonates a lot with the themes she explores on her album, so I can only recommend that you give it a listen.

And it seems that the band loved her cover!!

Have a great weekend, Jude x

[judeonfilm]

Visuals in The Battle at Garden's Gate by Greta Van Fleet

Hello dear music lovers! For this week's post, I am going to introduce you to one of my favourite albums. After a debut EP in 2017, and a studio album in 2018, the American band Greta Van Fleet, made up of 3 brothers and their long-time friend, released The Battle at Garden's Gate in 2021. This album was a renaissance for the band. They found their true sound, straying from the recurring comparisons to other rock bands, while keeping that 70s rock spirit with a touch of classical inspiration.

The Battle at Garden's Gate deals with the human experience affected by war and religion. "We do not fight for war. But to save the lives of those who do so," lyrics in 'Heat Above'

The idea is that the album is set in parallel universes, at the time of ancient civilisations - there are biblical references (e.g. 'The Barbarians'). It's very visual, both in the lyrics and in the art surrounding the conception of the album.

Each song has its own symbol (that could be found on their tour outfits), and several editions of vinyl have been created, with the gatefold illustration varying from one edition to the next - depicting a snowy landscape, or one on fire (the parallel universes I just referred to)…

For the "Dreams In Gold" tour, Greta Van Fleet carefully chose their concert venues in accordance with the aesthetics of the album. In France, they played at the Théâtre Antique de Vienne, and we were transported to another era for a few hours.

Finally, to accompany the studio release of their albums, they recorded "Candlelight" live sessions, in a baroque-inspired setting and outfits. Here is my favourite performance, as well as the music video of 'Heat Above,' which perfectly encapsulates the aesthetic of the album:

Have a great weekend, Jude x

[judeonfilm]

Some men attending a Last Dinner Party gig felt unwelcome due to venue security - a reflection on the treatment of non-men fans

Currently on the UK leg of the tour for their debut studio album, The Last Dinner Party received backlash about the treatment of some fans at a concert. This Saturday, September 28th, the band made up of women and non-binary people was due to perform in Lincoln. However, some men who went to the concert alone have spoken out on the internet about their experience. One man wrote that on arriving at the venue, he was "funnelled into a dark corner with other men, told I might be a pervert cus I’m alone and then taken into a room alone with a security guard where I was interrogated and searched. Feel sick." Another man wrote : "I rocked up there tonight at 8:45 on my own, no queue, I got asked how long I had liked them for, and to name my favourite song." They clearly did not deserve to have their evening ruined by an unjustified discriminatory act.

The venue has since apologised, announcing that the over-reaction was due to a change in security policies after being informed of incidents at previous gigs by the band. As much as these actions were well-intentioned -to protect other fans- their executions were clearly awkward and counterproductive. The Last Dinner Party clarified that they had not been informed of this change in security policies. Indeed, the band posted a statement on their social media, saying "Our shows are intended to be safe, welcoming spaces for everyone, which is something we deeply care about. Seeing inclusivity embraced by our fanbase is one of the best parts of performing live." They added that "everyone is welcome and encouraged to attend our shows" and that they were "appalled and disappointed that anyone was made to feel otherwise."

TLDP's audience is largely young, queer, feminine -people that are frequently victims of stereotypes, discriminations, and insecurities. I can confidently say that every person of colour, every woman, every queer and transgender person has already felt condescended to, unsafe, and unwelcome at concerts. Just because you don't belong to the stereotypical default audience (usually a majority of white male fans, for example Metallica's), you are asked to prove you deserve to be there, to prove your knowledge on the artists (how many times have you been asked to "name three songs"?).

For me, this treatment is directly linked to the image of the ‘fangirl’, a misogynistic term used to ridicule and exaggerate a category of audience. It is a magnifying glass on the misogyny suffered by women in the wider world. I won't go into too much detail on the subject (or I'll be at it for hours), but there's still too much discrimination against women and minority groups in the pit, as much as on stage, and behind the stage.

Obviously, these men did not deserve such discriminatory treatment. But I can't help thinking about the irony of it all: a man has felt the absurd condescension that non-men fans are regularly subjected to, and his story makes the news...

[judeonfilm]

Nick Cave & the Bad Seeds: Wild God Review - "rock’s former Prince of Darkness finds euphoria despite it all, on an album of contagious joy and thrilling melody"

Hello dear fellow music enjoyers! My name is Jude, and I am a passionate music lover, and a concert photographer. My favourite artists are Hozier, Greta Van Fleet, Lou Reed, Kate Bush, David Bowie, The Last Dinner Party, Ethel Cain, Tamino, Jeff Buckley, Nick Cave & the Bad Seeds... (sorry, I can't be moderate when it comes to naming my favourite artists). For my first post, I chose to write about the latter. What led me to highlight this band today, is that despite their 40-year career in the music industry, Nick Cave & the Bad Seeds have never become mainstream, although they have had a major impact on pop culture - from their first big hit 'Where the Wild Roses Grow' (1996) featuring Australian pop star Kylie Minogue, through one of the most famous saga with 'O Children' (2004), to Peaky Blinders with 'Red Right Hand' (1994).

Nick Cave & the Bad Seeds just released their new studio album Wild God on August 30th, and it immediately became my favourite release of the year. It was preceded by three highly-anticipated singles, 'Wild God,' 'Frogs,' and 'Long Dark Night.' It is the first album featuring the full participation of the Bad Seeds since Skeleton Tree (2016). Five years after the release of their last album Ghosteen in 2019, exploring loss, grief, and healing following the passing of Nick Cave's 15-year-old son, Wild God feels like an ode to the beauty of life.

"Wild God is the sound of the curtain drawn back and the light flooding in, a light that at times feels almost overwhelming. There is hope. Wonder too," Nick Cave says.

Nick had considered naming the album after its fourth song, 'Joy,' encapsulating the spirit of the whole album in miniature. A solemn, tearful voice resonates over a series of melancholy piano and brass notes. "We’ve all had too much sorrow, now is the time for joy."

The album is punctuated by climactic songs, ending with Nick Cave's voice backed by a gospel-inspired choir. 'Conversion' is a fan favourite, and a perfect example of this: from a self-explanatory title to an ecstatic explosion of background vocals chanting "Touched by the spirit/ Touched by the flame."

My personal favourite songs are 'Song Of The Lake,' a beautiful opening track beaming with inner peace, 'Final Rescue Attempt,' a song set to the rhythm of a synth creating an uneasy atmosphere of urgent anticipation, and finally, 'O Wow O Wow (How Wonderful She Is),' one of his most masterful love songs, dedicated to the late Anita Lane, a former member of the Bad Seeds.

Fuelled by allegorical storytelling about religious figures and otherworldly encounters, Wild God is an anthology of radical optimism, populated by the dead. The album leaves you feeling light-hearted, full of hope and prone to fall back in love with life.

Here are two songs from the album that I highly recommend. Don't hesitate to give me your opinion on the songs, I'd love to hear your favourites from the album. And if you know other albums/songs that remind you of this one, feel free to comment on it!

Have a great weekend, Jude x